| Hi,
here is a fragment of dx712.orc (from DX72Csound by Jeff Harrington
http://www.parnasse.com/dx72csnd.shtml ). The whole dx712.orc seems too
big for sending to List. Everything was allright when I compiled it
with Winsound3.473. But Winsound3.48 is cycling and scolds violently.
What does it means?
;====================================================================;
; Yamaha DX7 Emulation Instrument ;
; ;
; Algorithms: ;
; ;
; 1) 6] 2) 6 3) 4) ;
; 5 5 3 6] 3 6\ ;
; 2 4 [2 4 2 5 2 5 | ;
; 1 3 1 3 1 4 1 4/ ;
; ;
; ;
; 5) 6) 7) 8) ;
; 6] 6 ;
; 2 4 6] 2 4 6\ 2 4 5 2 [4 5 ;
; 1 3 5 1 3 5/ 1 \3/ 1 \3/ ;
; ;
; ;
; 9) 10) 11) 12) ;
; ;
; 6 [3 3 ;
; [2 4 5 2 5 6 2 5 6] [2 4 5 6 ;
; 1 \3/ 1 \4/ 1 \4/ 1 \3/ ;
; ;
; ;
; 13) 14) 15) 16) ;
; 5 6] 5 6 4 6] ;
; 2 4 5 6] 2 \4/ [2 \4/ 2 3 5 ;
; 1 \3/ 1 3 1 3 \--1--/ ;
; ;
; ;
; 17) 18) 6 19) 20) ;
; 4 6 5 3 ;
; [2 3 5 2 3] 4 2 /6]\ /[3\ 5 6 ;
; \--1--/ \--1--/ 1 4 5 1 2 \4/ ;
; ;
; ;
; 21) 22) 23) 24) ;
; ;
; /3]\ /6\ 2 /-6]-\ 3 /6]\ /-6]-\ ;
; 1 2 4 5 1 3 4 5 1 2 4 5 1 2 3 4 5 ;
; ;
; ;
; 25) 26) 27) 28) ;
; 5] ;
; /6]\ 3 5 6] 3] 5 6 2 4 ;
; 1 2 3 4 5 1 2 \4/ 1 2 \4/ 1 3 6 ;
; ;
; ;
; 29) 30) 31) 32) ;
; 5] ;
; 4 6] 4 6] ;
; 1 2 3 5 1 2 3 6 1 2 3 4 5 1 2 3 4 5 6] ;
; ;
;====================================================================;
; ;
; p02 = start p03 = dur p04 = pch p05 = vel ;
; p06 = panfac p07 = vibdel p08 = vibwth p09 = vibhz ;
; p10 = op1fn p11 = op2fn p12 = op3fn p13 = op4fn ;
; p14 = op5fn p15 = op6fn p16 = ampfn p17 = pkamp ;
; p18 = rsfn p19 = devfn p20 = erisfn p21 = edecfn ;
; p22 = vsfn p23 = velfn p24 = feedfn p25 = feedbk ;
; ;
;====================================================================;
; ;
; Credits: ;
; ;
; Original by: Jeff Harrington (idealord@dorsai.org) ;
; Revised 10-12-93 RFP ;
; Modified by: Doug Walter (walter.doug@ic.gc.ca) (01-1997) ;
; Modified by: Sylvain Marchand (sm@labri.u-bordeaux.fr) (04-1997) ;
; Revised 04-21-97 Sylvain Marchand ;
; ;
;====================================================================;
sr = 44100
kr = 441
ksmps = 100
nchnls = 1
Regards,
Sergey Batov
email: batov@glasnet.ru
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Date: Sat, 25 Apr 1998 10:09:01 -0400
From: Carlton Wilkinson
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To: Richard Dobson ,
Csound list
Subject: Re:
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Regarding the Boehm post from Richard D.:
I'm not sure what your point was here. I think we need to encourage as
much debate as possible about what was good, what can be done, what can
be retained, what should be discarded--what can be retrieved, like
advantages to the Lyricon. Otherwise the New MIDI boss will be the same
as the old MIDI boss.
And another thing (;
>No doubt there were posers in
>all these fields, but history has easily forgotten them, as they (by
definition) did
>not produce anything.
History can't be counted on as any kind of judge, since it seems to
forget people, good and bad, rather arbitrarily. And in remembering, it
turns ordinary folk into gods. If history were fair, we would remember
the sweet song of every unambitious savant, or we would forget all of it
and listen instead. But its not, it's the ultimate people poll, in which
folk like Microsoft benefit from general ignorance.
>There is clearly a general consensus that most Western orchestral
instruments have
>now reached the optimum poise betweeen difficulty, utility and
expressiveness -
>except perhaps in the field of percussion isnstruments, where invention
has never
>ceased.
I think the instruments we have say a lot about us as a culture, but
certainly none are finished evolving. Some of them, by the way, have
barely begun (the trombone, the guitar). The prize of volume +
expressiveness (and tunable diatonicism) isn't a natural law and as it
passes away many of these shining Boehm machines are going to go back to
the drawing board. Even if it was a natural law, amplification opens a
lot of other doors (anybody want to start a clavichord quartet? We could
play Carnegie Hall. Hell, we could play Shea Stadium.) The piano
itself--that creature so perfect that I am awestruck to call it a
machine--remains to be brought into the 21st century (or it will become
an museum piece). How do you move the piano into a musical world where
pitch is never fixed? Maybe the computer is the natural replacement for
the piano--how sad--that awaits only the brilliantly designed human
interface.
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm
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Date: Fri, 24 Apr 1998 13:08:16 -0200 (GRNLNDDT)
From: Christian Lyra
To: csound@maths.ex.ac.uk
Subject: Re: your mail
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Pleaasee!!! One =cw4t7abs is enough!!!
On Fri, 24 Apr 1998, Larry Troxler wrote:
> On Fri, 24 Apr 1998, =cw4t7abs wrote:
> > 4 1 frakt!on ov dze kozt.
>
> 3 1 !zz. hum!nz Zuks.
> >
> > dzat = s!nsz art!stz lakc.
> > 1o year oLd zystemz = abov mozt art.!stz reku!rmentz.
> > !n fakt art.!stz.pozer.akadem!kx || kommerc!aL =
> > ultra kommerc!al lak.age.
> >
> redund!ntz fasc!st pigs! Kummerc!al Zuks! ==tabs != Ko0l dewdZ
>
> -- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
>
>
>
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From: Richard Dobson
Organization: Composers Desktop project
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Subject: Re:
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The point was, by example, that some great creative minds, spirits, can see
unrealised potential in instruments or systems, which others are still
striving to exploit to the full - without contradicting what is perceived to
be the essential character of the instrument. It is an inevitable, dynamic,
multi-dimensional process.
As for supposed 'developments', it is not often appreciated by non-players
that in many cases the particular expressiveness of an instrument (assuming
it is well designed in the first place) often arises especially from the
things it ~cannot~ do. The flute cannot overlap notes, the piano can. It
does this to suggest legato, which it cannot, strictly speaking, do. The
flute, and the singing voice, can swell a single note, which the piano
cannot. Much of the beauty of piano music, and piano playing, arises from
the ways players contrive to suggest such things. Neither instrument can
achieve a smooth pitch slide, whereas it is almost trivial for a violin. No
human voice can even approach the pitch range of these instruments. But the
human voice has great richness in other ways, and for most instrumentalists,
still represents the ultimate model of human musical expressiveness.
The great danger lies in the thought that somehow a computer instrument with
no limitations must be more expressive than an instrument with limitations.
But where a performer cannot communicate effort, struggle, transcendence,
the expression, on a human level, will be found wanting, except perhaps by
those for whom the ascendancy of the computer has become a religion. The
development of the electric guitar is the classic example - with
amplification, being loud, shouting with it, became easy, trivial. So the
only was to express those feelings was to destroy the instrument itself. It
is in this sense, that I recognise that =cw4t7abs has a point. The key
feature of all the historical developments of instruments was that this
aspect was preserved - it was possible to suggest a place to which the
musician needed to go, but where the instrument could not take them- a vital
symbolic form of expression. If that makes me an incorrigible romantic,
well, so be it!
As for the clavichord, let me be a conservative - for me, its primary
quality is its intimacy, the delicateness of it's sound, the light
suggestiveness of its inflections. I can think of few worse prospects than
hearing one, amplified, at great distance, in a large concert hall! At best,
it will simply be a new instrument, to be evaluated in those terms. But it
will no longer be a clavichord.
Where is this world in which 'pitch is never fixed'? Is 'never' a statement
of a reality, or another moral imperative?
One absolutely final point - I think that if we are truly confident of the
musical worth of what we do, we have no need to argue the extinction or
obsolescence of the competition!
Richard Dobson
Carlton Wilkinson wrote:
> Regarding the Boehm post from Richard D.:
> I'm not sure what your point was here. I think we need to encourage as
> much debate as possible about what was good, what can be done, what can
> be retained, what should be discarded--what can be retrieved, like
> advantages to the Lyricon. Otherwise the New MIDI boss will be the same
> as the old MIDI boss.
>
>
> I think the instruments we have say a lot about us as a culture, but
> certainly none are finished evolving. Some of them, by the way, have
> barely begun (the trombone, the guitar). The prize of volume +
> expressiveness (and tunable diatonicism) isn't a natural law and as it
> passes away many of these shining Boehm machines are going to go back to
> the drawing board. Even if it was a natural law, amplification opens a
> lot of other doors (anybody want to start a clavichord quartet? We could
> play Carnegie Hall. Hell, we could play Shea Stadium.) The piano
> itself--that creature so perfect that I am awestruck to call it a
> machine--remains to be brought into the 21st century (or it will become
> an museum piece). How do you move the piano into a musical world where
> pitch is never fixed? Maybe the computer is the natural replacement for
> the piano--how sad--that awaits only the brilliantly designed human
> interface.
>
> Carlton Joseph Wilkinson
> http://excaliber.net/alex/wilkwrks.htm
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From: Mark Altin
To: "'csound@noether.ex.ac.uk'"
Subject: FIR and IIR Filters
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Hi everyone,
I've recently trying to understand FIR ad IIR filters. I think I have =
got it pretty much under my hat, but I just want to make certain of a =
few things.
(1) What exactly is the difference between impulse response and =
frequency response?=20
(2) Is the equation for calculating coefficients only needed to create =
Fc other than SR/4?
Well Thanks for your time. I really appreciate it. Teaching yourself =
some of this stuff can be quite frustrating sometimes.=20
Mark
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From: Christian Lyra
To: csound@maths.ex.ac.uk
Subject: Re: your mail - new opcode!
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Hi,
Ok, I will leave Larry alone (I know, Mr. Larry is a good man
:-)).
But may someone write a opcode like this:
areadablemsg =cw4t7abconv astrangething
or a plug-in to mail programs that do the same thing... :-)
Thanks,
Christian Lyra
On Sat, 25 Apr 1998, Roger King wrote:
> Hey man, leave Larry alone. He knows how to do
> FFT analysis with only a pencil and a bathroom
> stall. :)
>
> At 01:08 PM 4/24/98 -0200, you wrote:
> >
> >
> >Pleaasee!!! One =cw4t7abs is enough!!!
> >
> >
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Date: Sat, 25 Apr 1998 14:03:20 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Re: your mail - new opcode!
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> But may someone write a opcode like this:
>
> areadablemsg =cw4t7abconv astrangething
>
> or a plug-in to mail programs that do the same thing... :-)
>
=cw4t7abs enkoder urL -
hTTp://www.tezcat.com/=cw4t7abs/cgi-bin/_...................____............
.______zttz.cgi
perl port 4rom max. max k!kx.
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Date: Sat, 25 Apr 1998 19:09:03 +0000
From: Larry Troxler
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To: =cw4t7abs
Cc: csound@maths.ex.ac.uk
Subject: Re: your mail - new opcode!
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=cw4t7abs wrote:
>
> > But may someone write a opcode like this:
> >
> > areadablemsg =cw4t7abconv astrangething
> >
> > or a plug-in to mail programs that do the same thing... :-)
> >
>
> =cw4t7abs enkoder urL -
> hTTp://www.tezcat.com/=cw4t7abs/cgi-bin/_...................____............
> .______zttz.cgi
> perl port 4rom max. max k!kx.
Hey, maybe you should write a _de_coder and pipe your outgoing messasges
through it. Just a thought :-)
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Sat, 25 Apr 1998 19:10:39 +0000
From: Larry Troxler
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To: Christian Lyra
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Subject: Re: your mail - new opcode!
References:
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Christian Lyra wrote:
>
> Hi,
>
> Ok, I will leave Larry alone (I know, Mr. Larry is a good man
> :-)).
> But may someone write a opcode like this:
>
> areadablemsg =cw4t7abconv astrangething
>
> or a plug-in to mail programs that do the same thing... :-)
>
> Thanks,
>
> Christian Lyra
>
Listen guys, I'm sorry. It was late.
:-)
Larry
> On Sat, 25 Apr 1998, Roger King wrote:
>
> > Hey man, leave Larry alone. He knows how to do
> > FFT analysis with only a pencil and a bathroom
> > stall. :)
> >
It's actually not that easy. That toilet paper is a bitch to write on.
> > At 01:08 PM 4/24/98 -0200, you wrote:
> > >
> > >
> > >Pleaasee!!! One =cw4t7abs is enough!!!
> > >
> > >
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Sat, 25 Apr 1998 19:18:39 +0000
From: Larry Troxler
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To: Christian Lyra , csound@maths.ex.ac.uk
Subject: OFF TOPIC Re: your mail - new opcode!
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> > On Sat, 25 Apr 1998, Roger King wrote:
> >
> > > Hey man, leave Larry alone. He knows how to do
> > > FFT analysis with only a pencil and a bathroom
> > > stall. :)
> > >
>
> It's actually not that easy. That toilet paper is a bitch to write on.
>
Oh sorry. You were thinking I could write on the walls. I used to do
that, but with the existing scribblings, it was too confusing - I
starting tried to use "Black-women" windows, and frame sizes of
555-2627.
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Sat, 25 Apr 1998 19:30:04 +0000
From: Larry Troxler
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To: Mark Altin
Cc: "'csound@noether.ex.ac.uk'"
Subject: Re: FIR and IIR Filters
References: <01BD7056.17352860@ip10.winterpark3.fl.pub-ip.psi.net>
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Mark Altin wrote:
>
> Hi everyone,
> I've recently trying to understand FIR ad IIR filters. I think I have got it pretty much under my hat, but I just want to make certain of a few things.
>
> (1) What exactly is the difference between impulse response and frequency response?
In non-precise terms, Impulse response is the sound waveform you get out
for the filter, by sending an input that is just a single
infinitely-narrow spike. So impulse response is a time-domain waveform.
You could almost think of clapping your hands in a concert hall and
recording the reverberations (although this isn't really exact, since a
hand clap isn't an ideal impulse).
The frequency response of the filter is the fourier transform of the
impulse response. It is the same response, but expressed as a frequency
spectrum of the impulse response.
> (2) Is the equation for calculating coefficients only needed to create Fc other than SR/4?
>
I don't understand the question.Sorry. What is the context?
> Well Thanks for your time. I really appreciate it. Teaching yourself some of this stuff can be quite frustrating sometimes.
>
> Mark
Even those of use who went to four or more years of engineering school
don't neccesarily completely understand it :-)
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: renan
To: csound@maths.ex.ac.uk
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Subject: Re: aestesis'98 sound2video converter
Date: Sat, 25 Apr 1998 22:26:44 +0200
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hi!
I'm a french VJ, and make my own VJing softwares,
I've just finish aestesis'98 a video mix software for windows.
two effect rack and one video mixer.
lots of effects directly on the sound.
include also fli and bmp player deformer.
download the eval version at
http://www.mygale.org/~renan/
++
renan
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Subject: Anyone using glove controllers ?
Date: Sun, 26 Apr 98 02:48:55 -0000
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From: Drew Skyfyre
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Hi,
Does anyone on the list use glove controllers for music ?I'd be
interested in what it's like,especially if you use them with a Mac.Feel
free to e-mail me off-list if you like.
See Ya,
Drew
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From: gb141
To: csound@maths.ex.ac.uk, Code Spaz
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Subject: Re: visual time/freq/pvoc for a poor NT user?
Date: Sat, 25 Apr 1998 19:18:25 -0400
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Hi: there are a number of MacOS/PPC emulators out there for Linux and NT as
well as a PPC board. I do not have the links.
gb
>
> Seems like there's a great deal of excellent stuff available at IRCAM that
>won't run in MicroSchlock WinAnything. I refuse to apologize for not owning
>a mac yet, and have been into csound and artistic DSP for a long time in NT
>(and besides, somtimes I've got to have a command prompt). Also, my
>experimental 486 Linux box isn't up to the task. Yet.
> Now that I see all this available for Macs, particularly at IRCAM, and
>particularly AudioSculpt, I'll probably start checking G3 prices on the
>weekends.
> In the meantime, can anyone suggest any good similar products, even
>scraggly shareware, that exists on the windoze(NT) platform? Especially
>things like SVP, AudioSculpt, etc....
>
>
>
> thank you for your bandwidth
>
>
>
>
>
>
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Date: 26 Apr 98 11:04:57 +0930
Subject: Re: network protocol (was Re: Creamware)
From: Nathan Day
To: Csound mailing list
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Why do we want a midi using floating point numbers, its just control
information not actual parameters to be used internally.
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Date: Sat, 25 Apr 1998 21:21:43 +0000
From: Charles Baker
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Nathan Day wrote:
> Why do we want a midi using floating point numbers, its just control information not actual parameters to be used internally.
Well,are you, or have you ever been an instrumentalist? Any competent
conservatory trained pianist can tell you that MIDI fails to capture
dynamic resolution ("nuaces") of their performance. I am a competent
wind instrumentalist who owns a own a yamaha MIDI wind controller.
I rather *hate* the velocity/wind pressure mapping...I spend hours twitching
the adjustments, but in the final analysis, no matter what the settings, in
*some* range of the dynamics, I will notice annoying "jumping" in
dynamics...there is just not enough resolution in MIDI's 0-127!!!!!!!
And also, wouldn't it be nice if one who is interested in just tunings
(such as a-cappella vocal groups and brass ensembles *require* to
sound good....) could just send the desired frequency and just the
right pitch, rather than having to map pitch bend? After all, why are we
using csound, if not to have that control that has been programmed out of
most MIDI devices?
--
*********************************************
Charlie Baker baker@charlieb.com
*********************************************
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